Disenchanted! – Lichfield Garrick Theatre 29/4/26

Posted on April 30, 2026 by garylongden

*****

( all photos Pamela Raith photography)

In a remarkable coup for the Garrick  this is the Uk professional premiere of the off Broadway hit musical Disenchanted.

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The 2022 Disenchanted film  was an American  Walt Disney live-action/animated musical fantasy comedy film  and the  sequel to the 2007 film Enchanted set in a fairytale castle.

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An imagined sequel, this is a musical fairy tale that bites back. There are no simpering helpless hopeless damsels in distress here- and the princes are nowhere to be seen

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Imagine the Spice girls meet the cast of “Six” with Girl Power to the fore, the  excellent three piece on- stage band are women too.  All of the lazy princess tropes are forgotten. Cinderella has burst out of the kitchen and sleeping beauty is wide awake. As for Rapunzel, well you wouldn’t want to cross her.

Rapunzel making sure you are paying attention.

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Each character tells their own story with a powerful original musical score including the Little Mermaid, Pocahontas ,the Princess Who Kissed the Frog  and a comic  Teutonic Rapunzel who steals the show.

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The show combines, panto, pop concert, cabaret, with stand up comedy  but crucially has heart and inspiringly declares that it’s never  too late to re-write our own endings.

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 It boasts two secret weapons. In a brand new show, inevitably the audience is adjusting to the format. Just before the interval any adjustment time is sidelined by the arrival of Jewelle Hutchinson as the princess who kissed a frog.

Jewelle Hutchinson dazzles with her costume and voice.

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With a voice so powerful the rest of Lichfield must have suffered an electricity shortage she blasted the show into the interval with great vocals and personal presence, the lift she provided to the show and audience was palpable. In the second half Eliza Bowden seizes the limelight as Rapunzel with Germanic zeal and efficiency. Make sure you have done your bit in the audience for the call and response  sections – as she doesn’t tolerate any slackers.

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Dennis Giacino and Fiely  Matias are responsible for the Book, Music and Lyrics which skip along briskly for a show that does not outstay its welcome at just under two hours including interval and is very funny. The copyright gags are amusing and droll. . The set design is utilitarian, the costuming lavish, no princess is going to tolerate skimping on the dress budget.

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The audience was predominantly a traditional mature one. However I sneaked in a nine and ten year old ( the advisory is fourteen) and they loved it. The brief profanity was nothing they had not heard in the playground that day. The empowerment message resonated strongly with them and it may be that the producers might want to find a way to reach out to that audience in the future.

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Disenchanted runs until Saturday 2nd May before heading for the Edinburgh festival. Director Daniel Buckroyd has done a superb job with the show which I suspect will be critically acclaimed north of the border. Outstanding, refreshing entertainment which deserved its prolonged standing ovation leaving us all definitely Enchanted.

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Barnum- Birmingham Hippodrome, 24/4/26

Posted on April 26, 2026 by garylongden

***

The story is that of Phineas Taylor Barnum (1810-91) who ‘humbugged’ his way through life, written by Mark Bramble, Michael Stewart and Cy Coleman.

It premiered on Broadway in 1980, where it starred Jim Dale as Barnum, it came to the London Palladium the following year with Michael Crawford who estblished himself, and the show, as box office gold.

In the current revival, Lee Mead takes the titular role. He has enjoyed a distinguished career in musical theatre after winning the television talent show Any Dream Will Do. He went on to enjoy a short lived marriage with Denise Van Outen- how much luck does any man need?

The show is predicated on spectacle that is delivered in spades. It is a visual extravaganza with the circus sequences expertly expounded , the costuming a cornucopia of colour and styles designed by Lee Newby. Mead inevitably dominates but is ably accompanied by. Monique Young is believable as Barnum’s wife, Charity. Penny Ashmore, as opera singer Jenny Lind with whom Barnum falls in love, is convincing as a Swede and vocalist. Fergus Rattigan entertains as Tom Thumb.

Dominique Planter, as Joice Heth, the ‘oldest woman in the world’ and one of Barnum’s first “humbugs”, sings brilliantly channelling her inner Ella Fitzgerald. the music is played by the ensemble on stage playing over 150 musical instruments during the course of the show, including mass Kazoo in effort, the Sousaphone for “Come Follow The Band” at the start of Act Two, and the harp beautifully played by Jenny Lind/Penny Ashmore.

Oti Mabuse’s choreography is busy and omnipresent, Lee Newby’s multilevel circus-themed set is copiously utilised and Jai Morjaria’s lighting is dazzling. The circus element is assisted by by Zippo’s Circus and the National Centre for Circus Art.

But for me the show was style over substance. After the initial visual impact the first half at almost an hour and a quarter dragged , ghe shorter fifty minute second half was much stronger. Considering that there were thrre writers, the narrative was poor, lacking pace, drama and conviction. The American backdrop was out of touch with the prevailing anti American zeitgeist. As a child I was lucky enough to see the Barnum and Bailey three ring circus in America, that childhood awe is now long since tarnished. I would not see it again. These days a mass standing ovation is almost de rigeur for shows, on Friday night it was limited to polite applause.

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The Rocky Horror show- Wolverhampton Grand Theatre, 14/4/26

Posted on April 26, 2026 by garylongden

****

This was my fifth visit to the show, but my second in four days having previously seen it at the Leicester Curve, a modern theatre. Wolverhampton grand is a traditional theatre- and Grand! Richard O’Brien‘s audacious musical The Rocky Horror Show has had a cult following since it first opened in London in 1973. It lovingly parodies B-movie horror and science fiction clichés. An all-American couple are forced to seek refuge at a mysterious castle after a flat tyre sees them stranded on a stormy night. What they discover there will change them forever in what is essentially an adult pantomime

As Roxy the Usherette appears in front of the curtain, we are transported back to 1950s America. Laura Bird sings ‘Science Fiction’ perfectly, recalling those iconic but trashy films and setting the scene as the curtain draws back to reveal Brad and Janet driving home from a wedding. 

Rocky Horror is as much about the audience as the performance and Wolverhampton were up for it in wall to wall wigs and stockings Then, when the cast sings the iconic ‘Time Warp’ about 20 minutes in, much of the audience stands up and joins infor an ensemble Rocky love in.

The ‘horror’ starts when Brad and Janet arrive at Dr Frank-N-Furter’s castle and a large gothic front door comes forward. Riff Raff opens the door ‘What’s your favourite Lionel Richie number?’ shouts someone from the audience. ‘Hello’ says Riff Raff to Brad and Janet.

Jackie Clune is a withering Narrator, although the apparent ad libs were expose by the wholesale repetition of her lines from leicester a few days before. But she nonetheless was superb in the role,

The set is B-movie tackiness. Wall decorations in the hallway revolve to become over-the-top laboratory equipment and a huge strip of cinema film maintains the theme. The entrance of Frank‑N‑Furter sees the audience in ecstatics and Stephen Webb plays him with full gusto wearing a leather basque, fishnet stockings and a mischievous grin.

The mad scientist’s creation, Rocky, is played by Morgan Jackson who has the perfect physicality for the role and delivers seemingly effortless acrobatic dancing. His impressive entrance is on a revolving full-size Vitruvian man prop, lit with neon.

The show replicated the one in Leicester minus the Saturday night buzz, but “Im going home” by Frank really landed tonight. Another great show

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Rocky Horror Show- The Curve, Leicester, 11/4/26

Posted on April 26, 2026 by garylongden

****

This was my fourth visit over the years to The Rocky Horror Show and my first to the Curve at Leicester for the final night of the week long run at the venue. over half of the audience were dressed for the occasion . On my left Sandra was all gold lame, to my right fish net clad Victoria a construction firm employee was pleased to swap her work boots for stiletto heels and feather boa

Over fifty years on from its debut performance the formula endures ; a catchy rock soundtrack, audience participation and cult appeal. not only do the audience know the libretto, they also know all the ad libs too, updating them where appropriate. The former prince Andrew is not spared.

Unusally the show opens with arguably its best song.Laura Bird is exquisitely sexy and alluring as she welcomes the audience with the opening number ‘Science Fiction: Double Feature’ with superb vocals and, legs and are then introduced to Brad (James Bisp) and Janet (Haley Flaherty) the wholesome all-American couple who are in for a very dark night indeed. 

Central to the show’s success is the Narrator played with consummate ease and a twinkle, by Mandy and Motherland actor Jackie Clune.

Clune is magnificent handling the audience call and response with ease, and dealing with new heckles with caustic aplomb.

The role of Riff Raff, is lessened in this production, made most famous by the author and originator of the part, i Ryan Carter-Wilson is functional with Magenta (Laura Bird after a quick change) and the tragic but delightful Columbia (Daisy Steere) dutifully at his side.

Frank ‘n’ Furter , played by Stephen Webb sashays and strolls like a perverted peacock, enjoying every minute of his lurid role.

The band , led by musical director Adam Smith, as part of a five strong team offered stirring support from the gallery. A cracking show and experience which was lapped up by the Saturday night crowd.

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David Bowie and fame

Posted on April 26, 2026 by garylongden
David Bowie performs at Deutschlandhalle, Berlin, on 16 May 1978 as part of his Isolar II world tour. Image: ARTCO-Berlin/ullstein bild via Getty Images

Bowie and fame

The short answer is “we don’t know.”

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His most explicit pean to fame, the eponymous song, is pretty unattractive lyrically, but driven by an hypnotic Alomar backbeat.  Created at a time when he was drenched in drink and drugs, the plight of millionaire rock stars in their limousines, plush hotels, with  fast women and men,  didn’t bother me. David always had his luxury home in Switzerland when it all became too much and the cocoon of  a first class cunard suite to travel there.

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Bowie successfully, and ruthlessly pursued fame leaving those that aided and abetted his journey by the wayside. Unquestionably  Tony DeFries was architect in chief, his Mainman offices in London, New York and Tokyo providing the launch pads to success, Angie, Ronno and Alomar being  jettisoned  like expended booster rockets when required.

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David understood contemporary celebrity  as well as anyone. What is astonishing is his celebrity in so many different fields. David the songwriter ( Space oddity, Life on Mars, The Man  Who sold the World, Dudes), David the Popstar (  Ziggy), David the Media darling ( the Panorama interview), David the lady Diana look alike ( live Aid/ Serious Moonlight era) , David the  Film Star ( The Man Who fell to earth et al), David the Childrens’ hero ( Laughing Gnome, Peter and the Wolf, Labyrinth), David the Theatre stage star ( Elephant Man), David the Messiah to the masses  ( Live Aid, Serious Moonlight Tour, Glastonbury2) David alternative Music hero ( Low and Heroes), David Saviour of failing careers ( Mott the Hoople, Lulu, Iggy Pop). It is an astonishing list, I could go on…

Intellectually David was a grasshopper moving from place to place, a cultural magpie, picking up ideas, using them, then trying something else. His flirtation with fascism was disastrous, he almost starred in an aborted  Camerson Crowe film about the Spanish Civil war as an anti fascist, but the Low heroes earthquake very effectively erased memories of the past.

Almost as remarkable as David’s success with fame was his ability  to dodge it. He spent 18 months with Cameron Crowe in LA, providing him with a biographical manuscript and no-one knew. His three years in  Berlin are  largely a mystery with three women who featured in it, RSC actor Clare Shenstone, transsexual performer and legendary nightclub owner Romy Haag and former journalist Sarah-Rena Hine – all of whom knew Bowie intimately, remarkably coy. Did David save Iggy? Did Iggy save David? Or did a Berlin awash with heroin consume them? No videos, a handful of photos.

Fame? What’s your name?

Heroes?

The vocals songs on the Heroes album are more conventional than on Low, and album which was groundbreaking

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The song Heroes did not leap out as a standard at the time,  as an album track, it is a straight forwards romantic love song underpinned by Fripp’ s guitar. The single edit is awful.

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However live it took on a life of its own, becoming a song of hope and loss, the phrasing on Stage is quite different to the studio take. Great songs transcend their original birth and are capable of becoming something much greater ( “Somewhere over the rainbow”).

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Bowie had a knack for being able to do this- think of “Space oddity”, “The Man wgho sold the world” “Rebel rebel”, Fashion”, “Fame “ and  “Lets dance”. All transcend their  original incarnations to become non time specific.

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Post 9/11, it morphed again when Bowie played it at the dong for New York Concert to become a song for all heroes. Its bombastic tenor thereafter was not to my taste  altering as Springsteen’s “Born in th USA” did in similar circumstances over time.

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It is noteworthy that his German language single vocal in “Helden”, recorded during the period in which he lived in Berlin is very good. I suspect that the fact that CoCo was both a fluent German and French speaker helped his multilingual versions.

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So it is arguable that there are four “versions” of Heroes on the table

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Sunny Afteroon- Regent theatre, Stoke on trent

Posted on April 12, 2026 by garylongden

*****
This was the third time I had seen the show on this tour, and the fourth overall. It continues to grow on me.

For a detailed review search for the Nottingham Theatre and Alex theatre, Birmingham shows.

What stood out this time was quality of Ray Davies song writing and the coherence of the song choice. The end is a little forced and rushed but after two hours all good things must end.

The Friday night finale of “Lola” was electrifying, energising the entire theatre. before that “I go to sleep” was sublime. The entire cast gave it their all for the closing mash up of tunes- of course we needed “You really Got Me” one more time.

Unusually for a jukebox musical there is a story, and it is well told, and well acted. Continues on nationwide tour

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Richard Ashcroft- Birmingham Arena

Posted on April 5, 2026 by garylongden

As the Rock era draws to a close, heroes are thinner on the ground. Unusually, Ashcroft has had two bites at the cherry, first as an Indy icon with the Verve, then after a period in the wilderness ,and a career pivoting stint supporting Oasis as a solo superstar. Stadiums and festivals are unforgiving places, intolerant of those that are merely filling in time before the main event. Ashcroft triumphed. Tonight I saw why.

Saturday night for a bank holiday weekend in Birmingham England’s second city and a 16000 sell out. No wonder as he came on he made his way to the front of the stage and took a minute to savour the atmosphere and occasion before blitzing the evening.

One thing he can never be accused of is modesty. Billed as Richard Ashcroft, not the Richard Ashcroft band, his initials are emblazoned in lights as the backdrop. He doesn’t introduce or name check his backing singers, the five piece string section, or band. This is him- and he pulls it off. No snazzy stage, no glitzy costumes. Just shades, jeans and t shirt and hoody for him.

What he did have was a killer set of songs, many stretched out, all improved for live performance. “Music is power” and “Break the night with Colour” became ten minute opuses. Two hours of compelling genius. “Hold on” was Springsteenesque in its call to arms cry.

Yes he does love the “all along the watchtower” chord changes ( weeping willow and others), and the lyrical nod to Reach out ill be There in Cmon people is shameless. But he gladly name checked Joan Armatrading for Lover and William Blake for the imperious History.

Wrexham’s the Royston Club held their own as the opening act with a sharp thirty minutes

Nailed on to headline the next Glastonbury.

  1. Weeping Willow
  2. Space and Time
  3. Music Is Power
  4. A Song for the Lovers
  5. Break the Night With Colour
  6. Velvet Morning
  7. Hold On
  8. Lover
  9. The Drugs Don’t Work
  10. Lucky Man
  11. Encore:
  12. C’mon People
  13. Sonnet
  14. History
  15. Bitter Sweet Symphony
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Macbeth- Derby theatre

Posted on April 3, 2026 by garylongden

*****

The East Midlands has been treated to Shakespeare’s greatest hits just recently. A few weeks  ago the RSC brought Hamlet to  Nottingham. Now Derby theatre in conjunction with Hull Truck Theatre , and Octagon Theatre Bolton, offer us Macbeth

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The Tragedy of Macbeth is thought to have been first performed in 1606  and dramatizes the physically violent and damaging psychological effects of political ambition and power. It is Shakespeare’s shortest tragedy written during the reign of King James I, and  contains the most allusions to James, patron of Shakespeare’s acting company. In the era of the predominance of Donald Trump this cautionary tale of the dangers of power could not be more prescient.

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If you don’t know the plot, where have you been for the last four hundred and twenty years?

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The set is spartan, industrial  and austere. Grey  flagstones are   speckled with weeds against a  backdrop  of doorways and an iron staircase illuminated by  eerie lamplight. This is no luxury castle. Is it a bunker? Is it a barracks? Is it a prison? Is it an underground carpark? It is brutal, and unforgiving- just like the play. There are lots of doors, some dead ends, some exits, some entrances, just like the choices facing the play’s characters. The multiple multi level doors and doorways create a sense that whatever route or door is taken, the fate of the characters is sealed. Hell is murky

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 Costuming  and weaponry is modern as is the overall tenor of proceedings. Rachel Canning does a skilful job with her set and costume design to underscore that. Rarely do I namecheck fight directors. With the suitably exotically named Haruka KurodaI , I make an exception. The closing showdown is terrific, visceral, muscular and tense, enormously aided by the physical presence of  Oliver Alvin Wilson in the titular role. The ensuing bloodbath makes Quentin Tarantino look tame.

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The main protagonists are Macbeth (Oliver Alvin-Wilson) and his conniving wife, Lady Macbeth,  played by Derby theatre favourite Jo Mousley.  

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Not only does Alvin Wilson have an imposing physique, he also has the ability to roll hubris, ambition and  vulnerability into a compelling performance. That performance is hugely  energised by Jo Mousley who smoulders as Lady Macbeth.

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In the 1970’s Helen Mirren gave a career defining performance as a gangster’s moll in the film;  “The Long Good Friday”. Mousley’s performance is a raven haired spin on that. Sexy, sassy,  and assured, she brings 21st Century Girl Power to a 17th century creation. Yet still she also  convinces in her white nightgown , disintegrating  amidst the wreckage of her plotting, centre stage. It is a wonderfully executed scene.

Director, Mark Babych, has managed to update this tragedy without losing its essence, aided and abetted by an unusually strong ensemble cast- the witches themselves chilling and thrilling. It lasts a taut two hours and thirty minutes including interval and runs until Saturday 18th April

Gary Longden

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Priscilla Queen of the Desert- Birmingham Hippodrome

Posted on March 30, 2026 by garylongden

Priscilla Queen of the desert- Birmingham Hippodrome

****

Old sparkling favourite  Priscilla Queen Of The Desert returns to the Birmingham Hippodrome stage with a dazzling, brand new 30th anniversary tour production.

An unseasonably cold, drab Tuesday evening in Birmingham , metamorphosed into the warmth and colour of the Australian desert drag and transgendered scene, as Priscilla rolled into town as part of a triumphant  nationwide tour.

The premise of the show, that a group of drag queens take  a tour bus – the eponymous Priscilla, into the Australian outback to perform a show is inauspicious. The realisation of it is a delight, aided and abetted by the  cast alchemy of this stage production . Its origins lie in the   1994 film, by Stephan Elliott and Allan Scott,  The Adventures of Priscilla, Queen of the Desert, but the musical did not debut until 2006. Legend has it that show Producer Scott could  sing the scores of some three dozen musicals. That knowledge , grasp and touch for musical theatre is much in evidence here.

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Musically, the songs are culled from the club Hi- energy  scene of the eighties. Richard Atkinson, musical director, and Ben Harrison, sound design, have  done a fine job  both with song choice and with the arrangements using a live band, orchestrations by Richard Weeden .

The evening is jam packed with 80’s dance favourites    including; Hot Stuff, It’s Raining Men, I Will Survive, Girls Just Wanna Have Fun, Finally, and Shake your grove thang- which the audience did enthusiastically until the end.it is also very funny.

The songs are supported by the  stunning choreography courtesy of  Matt Cole. Vicky Gill produces a visual cornucopia of costuming. Ian Talbot as Director delivers a compelling entity with vim and vigour. The ensemble singing is at once beautiful and stirring featuring delightful harmonies packing punch whilst knowing when to provide space in the music.

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The Drag queen triumvirate of  Tick,  ( Kevin Clifton),  Bernadette (Adele Anderson) and Felicia (Nick Hayes) are perfectly cast combining pathos and joy with equal aplomb. Adversity  always gives way to  triumph, as the ladies overcome prejudice and preconception by dint of their personalities, music and resilience.

The most compelling performance comes from Adele Anderson  as Bernadette, whose ageing   female persona is alluring, tragic but life affirming. Understated in a way his two lead performing companions, Tick and Felicia are not, she anchors the show from drifting off into plain Burlesque.

Nick  Hayes has the fun, flouncy part as the irritating Felicia, with the camp button always turned to the maximum. It is only when he is fully dressed, and sings “Hot Stuff” that his natural talent emerges, giving the song, which is often routine, an edge and poignancy rarely apparent in the renditions of other singers.

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Special mention should be made of Billie Hardy, who plays Ticks’ wife, Marion . In the face of overwhelming competition for the skirts, heels and stockings in the wardrobe, she still stands out with sharp dance moves and a figure the boys would die for.

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The show carries a torch for all members of society who may feel marginalised for whatever reason, hence its success.

In a troubled world, this life affirming show and message strikes a timely chord with its feel good vibe and irascible humour- runs until  Sat 28th and continues on nationwide tour.

Star of the show is boy band heartthrob Duncan James, from Blue, who plays Tick, a drag queen who wants to travel to Alice Springs to see his wife and young son aboard a rickety old coach christened Priscilla. James carries the role with ease, and on “I Say a Little Prayer For You” and “Always on my Mind” sings with power and conviction, a trait demonstrated by the entire, substantial cast.

p4

Production values are glitzy and opulent, with the focus on costuming and the bus. The choreography, originally by the late Ross Coleman, and now in the hands of Andrew Hallsworth is snappy and crisp, with an eye for the panorama of the stage, including the airborne divas!

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It is pretty much impossible to watch this show without clapping your hands, tapping your feet, and singing along to the club classic score. The energy injected into this opening night from a large talented cast was impressive, as were the smiles and standing ovation at the end from the audience. The show runs till Saturday 7th May and continues on nationwide tour.

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Lad- Brunswick Inn, Derby

Posted on March 26, 2026 by garylongden

Lad- Brunswick Inn- Derby

****

Lad is an immersive pop up  play by John Booker, set in a pub, and here, performed in a pub.it tackles masculinity and identity. Coincidentally I saw fellow East Midlands playwright’s James Howard’s production of Punch in Nottingham last weekend which covers similar ground.

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Old school friends Jack and Luke  have found their lives diverging, one going to university, the other to jail. Do old ties still bind? Or have their new experiences reshaped them? Had the lads originally understood their own identities? Had they done so, but were merely projecting an identity for themselves- to fit in with how they thought they should be seen?

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There is much to cram into a forty minute play. Jack and Luke,( Kurtis Lowe and Kwamé Kandekore) are the protagonists, England vs. Spain, Euro 2024 Final, the backdrop. The tension off the pitch is as great as it is on it.

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Pubs are strange places where intimate, yet transient conversations occur, Booker captures that perfectly. Supporting England provides that sense of belonging collectively against individual vulnerability and doubt. As an audience we are part of that, same room, same pub, same discussion. Throw  in class, race, and masculinity in a post industrial world, and the audience is faced with   much to contend with.

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What the play succeeds in doing is striking up an important  conversation, well told, well written and well acted. Inevitably the more profound and far ranging the questions asked , so the limitations of forty minutes bite.

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The second world war  proved that women were equal in the workplace. The 1960s/70s rise in feminism occurred as  traditional male roles and hierarchies were being dismantled by de-industrialisation while improved educational opportunities for women simultaneously saw mass encroachment on traditional male white collar jobs and roles. Where do today’s lads fit into all of this? How does the remote sense of belonging and identity of the internet fit into all of this? Can it be resolved over a pint?

Kurtis Lowe and Kwamé Kandekore perform superbly in this intense two hander sat at a pub table. Secrets are revealed, and the sympathy of the audience vacillates as their story unfolds, tautly directed by    Danny  Bailey, dramaturgy by Nic Wass . The dialogue is authentic, the banter   funny and on point.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    

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Thus, Lad is a beginning rather than an end.  It feels like one act of a larger entity. I suspect that Booker will explore this further in future pieces, both he and the subject matter deserve him  to do so.

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